Professional Documents
Culture Documents
Sam Wallbank
Types of Type
Contents
Introduction
Type in editorial
Dieter Rams
Barnbroook
Lineto
Main Studio
Mileugrotesque
OK-RM
6-7
8-9
10-1 1
12-13
44-45
46-47
48-49
50-51
Editorial manifesto
Biblioteque
Bureau Bruneau
Colophon / Eric Hu
Type Production
Karen Sheng
Erik Spiekermann
14-15
18-19
20-2 1
22-23
54-55
56-57
58-59
60-61
Grilli Type
Hey Days
Hort
Type application
Onlab
Rosario Florio
Salut Public
Studio Makgill
24-25
26-27
28-29
32-33
64-65
66-67
68-69
70-7 1
Words of wisdom
Hunt Studio
Julia
Studio Newwork
Toko
34-35
36-37
40-41
42-43
72-73
74-75
Introduction
Sam Wallbank
This book is not a how to (guide) it is more of a collection of what I find interesting. Quotes and extracts have been taken from a variety of sources that help understand more about typography. Current studios, designers and type foundaries have been included to showcase some of the work that is relevent to the featured articles.
Type in Editorial
Barnbrook on Typography
Editorial Manifesto of 6
After studying architecture at the Werkkunstschule Wiesbaden, the highly awarded and respected Dieter Rams landed a job at the architectural firm of Otto Apel (1953). Two years later, he left the firm and joined the product company Braun, where he created a legacy. Within the 40 years of working at Braun, Rams produced and oversaw over 500 innovative products as chief of design. Many of his designs are featured in museums throughout the world.
Good Design Is Innovative Good Design Makes a Product Useful Good Design Is Aesthetic : Good Design Makes A Product Understandable Good Design Is Unobtrusive Good Design Is Honest Good Design Is Long-lasting Good Design Is Thorough Down to the Last Detail Good Design Is Environmentally Friendly Good Design Is as Little Design as Possible
10
1 1
Barnbrook on Typography
Why is typography important? It is one of the basic building blocks of design. You cant be a good graphic designer without a thorough knowledge of typography. So those students reading this who say they find typography boring should look at changing their career. What makes a good typographer? Absolutely it is about attention to detail first, that is what separates good typographers and designers from the average ones. Its how you can aid proper comprehension of information, not how pretty you can make something look. Its very easy to see if someone is a good typographer because when they send you their portfolio they will have cared about how they have set their contact details and crafted the captions. You will be surprised about the amount of students who dont even know how to use basic punctuation, which is essential if you are a typographer. What is the future of typography? Well it is difficult to know where to stop when I think of the future, when people ask me this question because it is so open ended. Do people mean ten years? A thousand years?, A million? Therew is a conflict now between asserting national identity and communicating clearly internationally. As it becomes easier to create typefaces electronically, will cultures that have lost their written language now rediscover them? Will English still be the international language or do we need a new international language based on Chinese? In the longer term, will we evolve into a new way of writing that can be sent quickly electronically? Technology has always affected the future of language from ancient wax tablets to the computer screen. Will choosing typefaces become almost superfluous because the same information has to be displayed on so many different technologies?
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Will another alphabet have the same number of characters in a thousand years time? Will people still use typefaces if they dont use reading as a primary form of communication? Just to namedrop, I once asked William Burroughs to write a piece of text for a project I was doing at college. He never wrote the text but he was kind enough to invite me to meet him at a private view of his artworks and we had an interesting discussion about the future of typography. I asked him bout his feelings about typography and he said that he wasnt interested in it because all words and representations of concepts, would be replaced by a system similar to Ancient Egyptian hieroglyphs that would be understood worldwide. Something which would naturally develop from the system of pictograms in airports or peoples experiencing and interacting international spaces. How does a student learn to be a good typographer? Its a case of first being interested in the subject and wanting to find out about it. The principles of good typography have not changed since the beginning of printing and are universal across languages. They are to do with aiding legibility such correct work count, line length and understanding hierarchy of information. Its not difficult to find the information, then only by actually doing it you will you know what is good and bad. So I would say learn the rules of good basic text setting, then start with the experimental work after you have done this. It sounds silly I know yes you must have passion and a desire to change things but you also must have knowledge of the rules to rebel against. Almost as important is a critical awareness, knowledge of where you are placed within your discipline and history. If you learn these three things they will provide at least the parameters with which to understand the complexities of typography and produce work which can be innovative.
13
Editorial Manifesto of 6
Paul Willoughby Blurrint vision you see type and images as abstract forms and shapes and balance weights and compositions without overanalysising content. When considering how a graphic is held within the page, it narrows your view of positive and negative space. Andrew Losowsky There are two ways of viewing type: as striking visual elements that can completely change the attitude of the reder towards the printed page; or as mere background, that most readers aside from typographic geeks barely even notice. Both are equally true. Laura Meseguer Typography plays a major role, whis is that communicating and it does it by titles, paragraphs, columns and is based on how these are intergrated with the other elements of the magazine thus defining the style (sober and functional, fun and flashy, ect.). Typeface is used on three basic levels (arranged in columns, paragraphs around images or on pages); headlines (words or phrases); or in small sections (such as subtitles or captions) or even others that are more discreet (page number, section titles). Ludovi Balland In my projects, typography is always one of the most important issues. What is more exciting than choosing your outfit before going out? Typography is the outfit of the text. Emiliano L.Suarez If youre working on editorial or print projects, print it out to preview your design. Dont work only on screen especially if youre combining small and display size fonts as you can get confused- make sure youre not zooming in at 6400% to read your smallest font size
Luise Mendo Often in my teachings I use the metaphor that magazines are old radio shows. You probably know these: a story being tolf on the radio with many different characters coming in and out of the rooms, expressing their personalities only through voice differences, accents, maybe in the way they pronounce the letter R. Not only single image to illustrate them; the only information we are provided with to make sense of what is happening and how people react comes in the form of sound: the different voices, the special effects, the changes of rythm, the dialogues. This is exactly how type works. You have words, combinations of letters that create ideas, interpreted by the reader. But the type treatment helps us understand - before you read one word - what is important, what is not, if it is a story about politics or light gossip article, comunicated all this by type. In other words, you could read a magazine in a language you totally dont know just by looking at the type treatment: size, the chosen typeface, the colour, underlining decoration all these things are sounds of a radio show, tell us whos the good guy, whos the bad guy and whos the girl in the story. Thank god for type. In an era when we are literally immersed in messages, the personality, size, font and treatment of type can tell you much more than words alone can. That makes art director behind a magazine such an influential figue with the power to say things, to make the reader read something or neglect it.
Typo Mag 14
Turning Pages
15
Studio Profiles
Biblioteque
Bureau Bruneau
Colophon
Eric Hu
Grilli Type
Hey Days
Hort
16
17
Biblioteque
London
2003
D&AD
Le Corbusier
Biblioteque are one of the foremost young uk design groups. Formed by the trio of designers Jon Jeefrey, Mason Wells and Tim Beard.
Flint
Olt Aicher 18
19
Bureau Bruneau
Ludvig Bruneau
Oslo/ Norway
After graduating from the Graphic Design department at Westerdals School of Communication in 2010 he undertook an internship at Sagmeuster Inc. in New York I mainly work with printed matter ranging from visual identities to editorial design and packaging. The ideas behind my projects varies from technical to emotional concepts.
Lava Film AS
Lava Film AS
Cesium 137
Lava Film AS
Cesium 137
20
2 1
Colophon
Eric Hu
Brighton
Eric Hu
Colophon is an independent type foundry set up by Brighton based design studio, The Entente. As well as distributing and acting as a platform for fonts designed by The Entente, it selects fonts designed by other designers to distribute and create products for. Some of the typefaces released by colophon are limited edition ranging from 50-500.
From Apercu to Untitled
Eric works through a range of medias focussing on typography identity and publication design.
Apercu Specimen
Ruisse
22
23
Grilli Type
Switzerland
2009
Visuelle Dialogue
Gilli strive to produce high-quality, interesting typeface in a tradional Swiss way. They have a range of display and text typefaces, based on historical sources with and experimental background.
Visuelle Dialogue
Visuelle Dialogue 24
25
Hey Days
Mathias Haddal Hovet / Lars Kjelsnes / Martin Sanne Kristiansen / Thomas Lein / Stein Henrik Haugen
Oslo
2008
Heydays work across a variety of media and fields ranging from identity design to art directing. Working in the fields of publications, magazines, campaign marketing, web, packaging and motion graphics.
Heydays Stationary
Heydays identity
27
Hort
Eikes Grafischer
Berlin
1994
Bauhaus Dessau
HORT began its inhabitance back in 1994, under the previous stage name of Eikes Grafischer Hort. A direct translation of the studios mission. A creative playground. A place where work and play can be said in the same sentence. An unconventional working environment. Once a household name in the music industry. Now, a multidisciplinary creative hub. Not just a studio space, but an institution devoted to making ideas come to life. A place to learn, a place to grow, and a place that is still growing. Not a client execution tool.
Calle Underground
Bauhaus Dessau
Zoom Lebron IX
Bauhaus Dessau
Kiefler Woche 28
29
30
31
Type Application
Words of wisdom
32
33
Angus Hyland The Alphabet is a system of visual symbols used to denote language. If language is phonetic, writing was orignally simply a means of recording it or conveying it to people out of earshot. Sagmeister The message is always very clear and straightforward, the typography much more ambiguous and open for interpretation. I found that by utilizing an open typographic approach combined with the clear message many viewers have an easier time relating their own experience. Joanne Meister The transformation of the canvas should be active and engaging, but not so extreme that it ever sacrifices clarity. WWhen approaching a project, the final medium of the production must be considered. While the designer of production must be considered. While the desinger of the past has to asses the textural aspects of the paper for letterpress, the designer of today faces new or different variables. Todays solutions must embrace the ever changing technical and potentials and constraints in, lithography, digital print, interactive media. The final production plays a key role in the typographers early decision-making: both the limitations and the possibilities affect the range of choices. For exampe, a typographer must choose a typeface in agreement with te final medium. A simple choice between uncoated or coated paper stock must be choreographed with the characteristics of the chosen typeface. Different paper stocks portray a different essence of the same typefaceby the way the letterfors are absorbed or reflected by papers properties. To be in control of his craft the designer should be fully educated about which visual eleementss are optimal in each circumstance. If no, he will strain to reach his ultimate goal of uniting form and function. to deliver his message.
Symbol Codex journal of typography
34
35
When the designer creates unity between form and function he has masterd design.
Joanne Meister
36
37
Studio Profiles
Hunt Studio
Julia
Lineto
Main Studio
Milieugrotesque
OK-RM
38
39
Hunt Studio
Melbourne
Hunt Studio is a Melbourne-based boutique design consultancy that specialises in considered and bespoke design outcomes across all mediums and formats. Working with a wide range of clients across all disciplines, they pride themselves on our their attention to detail, and the unique process they bring to each one of there projects.
Process Journal 6
Process Journal 6
Process Journal 4
Process Journal 6 40
41
Julia
London
2008
Volt Magazine
Julia is Valerio Di Lucente (Italy), Erwan Lhuissier (France) and Hugo Timm (Brazil). We met at the Royal College of Art in London, founding the studio in 2008 upon our graduation. We work on books, typefaces, exhibition design, posters, websites, identities and tablet applic tions. Our practice is complemented by teaching in the UK and abroad.
Variability Exhibition
Volt Magazine
Premio Typeface: 42
43
Lineto
Switzerland
1998
LL Brown Typeface
Lineto started out by Cornel Windlin and Stephan Mller in 1993, five years later they jointly set up Lineto.com to distribute their own typefaces on the web. They have invited a number of their fellow designers to publish their own fonts alongside. Lineto has grown into a reputable library of original typefaces. As of 2007 Jrg Lehni has officially joined forces as a third associate.
Replica Specimen
Simple Specimen 44
Akkurat Specimen
45
Main Studio
Amsterdam / Netherlands
2004
Mainstudios projects include editorial design, books and visual identities for clients within architecture, art and fashion. His design approach is creating a clear concept, while always playing with the context of the information.
Les Canaux De La Mode
A wonderful World
Mark magazine 46
47
Milieugrotesque
Berlin / Zurich
2010
Chapeau Specimen
Lacrima Specimen
MilieuGrotesque reflects Timo and Alexanders interest and involvement with all things typographically related to work and thought.They also provide comprehensive typographical consulting, exclusive typefaces, bespoke designs and custom font solutions tailored to particular requirements, such as stylistic refinements, unique logotypes, language extensions as well as technical adaptations for any conceivable medium.
Chapeau Specimen
Generika Specimen
Generika Specimen
Generika Specimen
48
49
OK-RM
London / UK
2008
The studio has a project specific approach allowing for a highly varied output that encompasses visual identity, publication design, art direction, editorial and digital projects. The studios methodology is built on an objective to communicate the intrinsic attributes of each commission through well-crafted, thoughtful and direct solutions. A grounding in conceptual thinking and a distinctive language based typographic approach is essential to the studios practice.
Zuneta
Gabriel Kuri
Zuneta
Seascape
Free to Air
In other words 50
51
52
53
Type Production
Karen Cheng
Erik Spiekermann
54
55
There is no single, correct process for creating a typeface. The methodologies of individual designers are as unique and varied as the designers themselves. In some ways, the most difficult part of the design process is finding the initial inspiration to make a font. The vast number of existing typeface (last estimate at 50-60,000 in 1996) can be intimidating, especially for the novice designer. Still, the ongoing proliferation of type shows no sign of abatement; if anything, the complexity of the modern world encourages continued growth. Many of the new fonts issued today are commissioned by clients for specialised audiences. For example fonts have been customized to appeal to readers of every possible demographic: conservatives, liberals, children, teens, the elderly, sports fans, fashion followers, enviromental activists and technological enthusiasts, to name a few. In some cases, the inspiration behind a new font is purely visual. A typeface is the formal manifestation of the authors voice. Type adds subtle but important nuance to textual communication. The right typeface, in combination with layout and typography, results in documents that are precisely tailored, aesthetically and conceptually, to a single purpose. Regardless of the motivation behind the design, once and initial idea has germinated, the next logical step os tp define specific typographic parameters. Moster designers begin by sketching a few key letters that set the proportions and personability of a font. (These letters vary from face to face, but generally, the lower case a, e, g, n and o are good starting points.) Once the selected letters have been roughly outlined, a word or series of words can be
56
tested . One frequently selected term is hamburgefontsiv since it includes many of the most commonly occuring lower case letters. Alternatively, asentance or simplWe text passage can be an effective test. The first sketches can be created manually or digitally. Digial programs include both vector drawing applications (such as adobe Illustrator) as well as specialist font design software (such as FontLab, Fontographer or DTL Font Master.) Generally speaking, novice designers are off drawing type characters by hand. Organic curves (such as those on the s, a and g, for example) are difficult to render with points and line segments; the hand and eye are usually more graceful and more accurate in a physicalenvironmentwith a fixed scale. Additionally, free sketching encourages creativity in the early stages of design. Once the basic design idea for a font has been determined, the full set of characters (letters, numbers, punctuation, symbols and diacritics) must be fleshed out. Analogue drawing must be scanned and traced to create digital character outlines. After all digital outlines are refined, characters must be imported into specialist software this is to complete the final stages of production; spacing, kerning and hinting. The initial spacing of a font is set by determining the left and right side bearings of each character (the side bearing is the distance between the letterform and the sides of an imaginery bounding box. Setting the sidebearings would be simple if all the characters had the same width (as in monospaced typewriter font) or the same basic profile (for example, diagonal, round, square). However, most fonts contain letters, numbers, symbols and
punctuation with vastly different widths and shapes. Therefore, each character requires customized sidebearings that are appropriate to their unique form, width and density. Unfortunately , even spacing cannot be accomplished solely through the setting of letter sidebearings. Characters with open diagonal sides the A, J, L, P, T, V, W, Y, 4, 7, f, j, r, t, v, w and y) cause problems, since their structures must extend into the space of adjacent letters to prevent unsightly gaps. The process of finding and adjusting these awkward letter pairs is called kerning. Both spacing and kerning can be set automatically in the previous discussed font design softwares. The default values generated, however, should be used as an inital guide rather than the final result. Spacing is an arduouse process that requires substantial testing and fine-tuning. The overall set of a typeface should be optically even so that text blocks uniform shade of grey. Additionally, the se of type should be normal - nether too tight nor to loose. Tight setting impair legibility, since they create confusing letter combinations rn.
There i s no right or wrong way of creating a typeface, each designer is different and has his or her own way of working. It gives a good insight into what is generally considered when working and designing with type.
57
Erik Spiekermann
Throughout his illustrious career as a designer and typographer, Erik Spiekermann has created dozens of commercial typefaces (FF Meta, FF MetaSerif, ITC Officina, FF Govan, FF Info, FF Unit, LoType, Berliner Grotesk) and many custom typefaces for world-renowned corporations.
What do you think of Apple and their approach to design in general? How does their industrial and web design compare to typeface design? I bought my first Mac in 1985 and have probably bought every single computer they ever made at one time. I also have a large collection of equipment by BRAUN, most of it designed by Dieter Rams. If you look at the stuff from the 60s now, you see where Apple (i.e. Jon Ives) get their direction. They have learnt to bring objects down to the essentials without making them look boring and purely functional. They know that aesthetics play a big role in function because we do not like to use anything that is ugly. Function also follows form. Perhaps that is the common denominator for my typefaces: I have always designed my faces for a specific purpose, but they always have to look pleasing, whatever purpose they serve. Can you briefly describe what the current process is like for you to create a new typeface and where do you get your inspiration from? The question about inspiration is tedious because I work like everybody else. Everything can be inspirational, there is no method or proper process. Like any design process, I look at the brief, take it apart, look at comparable briefs, make analog sketches, discuss with colleagues and the client and then carry on condensing the sketches, at some point digitally. What are the challenges today for someone getting started in typeface design versus when you first started in the 1970s?
There is more competition out there. While there are fantastic tools available that I would have killed for, it has also become very difficult to master all of them. We are therefore on the way back to share work between people. Some of us are good at sketching, some at programming, some at using production tools. Not one person can do all of it equally well. That is how type used to be made before desktop computers and that is how type is made again today. Can you describe your ideal work environment? This is a silly question because I have no fixed formula. Every project is different and the work environment is always different as well. I do not work on my own, ever. (See question Can you briefly describe what the current process) Which typefaces styles do you think will be the most popular in the near future and why? The ones that express the Zeitgeist, In other words: all the styles that are appropriate, fashionable, legible and cool, how ever that may be defined at the time. We do not have one style or fashion (not even within one culture, let alone globally) anymore but many currents at the same time. Type design has always been eclectic. Type has always mirrored what went on in the visual world. These days it does so as quickly as music does and even more quickly than literature and film because you can design and produce a single typeface in a few days, all on your own. It is only the larger, more professional typographic systems that need weeks and months to complete, but even that is less than what it takes to make a movie.
58
59
1. Avoid Do something else, wash the car, back-up your data, do errands. 2. Think Sit back and think about the issue, just let your mind go. 3. Research Look up stuff, go through your old projects, but avoid Google it takes too long to find anything useful. 4. Collect We all have lots of stuff; there must be something in there that is waiting to be used. 5. Sketch Drawing is great, even if you have no talent. Just visualising the simplest things makes them come alive. 6. Deconstruct Take the problem apart, look at the parts and then put them back together. 7. Talk
60
61
Studio Profiles 3
Onlab
Rosario Florio
Salut Public
Studio Makgill
Studio Newwork
Toko
62
63
Onlab
Nicolas Bourquin
Berlin / Germany
2001
Onlabs aim is to develop innovative approaches and strategies as well as solution-oriented and structured working methods while looking at cultural differences and similarities in a subjective manner. onlabs core strategic goal is to link content and production aesthetics with elements of topicality.
64
65
Rosario Florio
Switzerland
Since 2009 Rosario has been working with some friends and set up Bureau Collective. This coprises of Larissa Kasper, Banziger Hug, Dominic Rechsteiner and Andreau Rueeger.
Zukunft
Zukunft
67
Salut Public
Brussels / Paris
2002
Resolutely geared towards international markets, Salutpublic forge its practice around the book design , the architectural identity, the graphic design and designing websites. With its multidisciplinary experience, the studio permanently binds the form to content and develops strategies and structural narrative for arts and cultural mediation.
Sylvio Perlstein
Out!
Abomey 68
69
Studio Makgill
London
2005
Pantograph type
Focusing on brand identities and visual communication for a broad and range of clients. Studio Makgills philosophy is to create succint, innovative, beautiful solutions.
Lollipop Shoppe
Lollipop Shoppe
70
7 1
Studio Newwork
2007
Newwork Magazine
They work across a range of media spanning print, screen graphics, products, and environments, aiming to create newness that could last decades.
Learario Beatriz
Robert Gellur
73
Toko
Twin shadow
Toko philosophy and creative process follows a distinctive conceptual approach in which critical thought, experimentation and collaborations are key. Based in Rotterdam and in 2008 permanently operating out of Sydney, Australia.
Felicity posters
Host identity
Code magazine
74
75
76
77
Index
www.bilioteque.com
www.bureaubruneau.com
www.colophon-foundry.org
erichu.info
www.salutpublic.be
www.studiomakgill.com
www.studionewwork.com
www.toko.nu
www.grillitype.com
heydays.no
www.hort.org.uk
www.huntstudio.com.au
Baubauhaus
Collate
Darkside of typography
Design Inspiration
www.julia.uk.com
lineto.com
www.mainstudio.com
www.milieugrotesque.com
Eight 48
ffffound
Graphic Exhchange
Ignant
www.ok-rm.co.uk
www.onlab.ch
projectprojects.com
www.rosarioflorio.ch
ISO50
Mag Culture
Many Stuff
Nous Vous
78
79
Index 2
Nowness
Recolte Difgitale
Reform
September Industry
Desinging Type
Studio Culture
Slanted
Trendlist
Type Token
Visuelle
Void
Symbol
Turning Pages
Typography
TypoMag
80
81
Acknowledgements
Adrian Shaughnesy Andrew Losowsky / Gestaulten Ambrose / Harris Angus Hyland Dieter Rams Erik Spiekermann Karen Cheng Laura Mesgeur Simon Garfield Tony Brook
82
83
84